A GUIDE FOR
1 INTRODUCTION 4
2 ASA, BCAP AND THE CODES 8
3 HOW COPY CLEARANCE WORKS 12
4 EXTRAS 18
5 FREQUENTLY ASKED QUESTIONS 22
The Clearcast team
WELCOME TO CLEARCAST 5
Here’s a little something about who we are
and the role we play in the wider context of
UK advertising regulation.
UK broadcast advertising is co-regulated with
the industry taking on responsibility (through the
advertising levy funded ASA) for governance by
agreement with statutory regulator Ofcom. Non-
broadcast advertising is self-regulated with
both being governed by codes of practice that
are designed to protect consumers and create a
level playing field for advertisers. The UK system
is regarded as setting a high standard for adver-
The UK Advertising Codes are determined by two
industry committees – the Committee of Adver-
tising Practice (CAP) and the Broadcast Com-
mittee of Advertising Practice (BCAP). These
committees are made up of representatives from
advertisers, media owners, agencies and clear-
The Advertising Standards Authority (ASA)
administers these Codes and investigates com-
plaints, later publishing its adjudications. For
more information on the ASA see page 9.
It is a condition of UK broadcaster licences that
all advertising in broadcast media should not
mislead, cause harm or offend, and broadcasters
should therefore clear ads against the BCAP code
prior to transmission.
WELCOME TO CLEARCAST 76 WELCOME TO CLEARCAST
changes and develops, and it would also have
the potential to stifle creativity. In applying the
Codes we therefore use our industry knowledge
and experience to make judgements about how
an ad would be defended in the event a complaint
For more information on the clearance process
see the section entitled How Copy Clearance
Works on page 13.
Each year we see approximately 32,000 scripts
and watch almost 64,000 ads. Whilst we work
hard to ensure that every one of these meets
the Codes, there are inevitably some viewer
complaints and some of these are investigated
and upheld by the ASA. In 2011, 76 ads cleared
by Clearcast were judged to have breached the
Codes, equivalent to 0.1% of the ads we saw.
We take our role very seriously; if we are judged
to get an ad clearance wrong by the ASA, then we
review the process taken to reach that decision
and take that adjudication into account for future
We hope this introduction helps you understand
why we’re here. You’ll find lots more information
in the rest of this booklet but if you have any ques-
tions you can’t find answered within, then please
go to our website FAQ section or email us at
Broadcasters can face sanctions from Ofcom
if they repeatedly carry ads that are in breach
of the BCAP Code. Their obligations include
ensuring before broadcast that ads are unlikely
to be found in breach of the key principles of the
Code and being in receipt of documentary evi-
dence to prove any claims being made in the ad
about a product or service. Clearcast undertakes
preclearance for TV ads and advises on ads for
Video on Demand. The RACC (Radio Advertising
Clearance Centre) undertakes a similar role for
radio advertising and the CAA (Cinema Adver-
tising Association) and BBFC (British Board of
Film Classification) for on-screen advertising in
cinemas. Non-broadcast ads don’t normally have
to be cleared in advance, although CAP provides
a copy advice service so that advertisers can re-
assure themselves that their ads won’t fall foul of
the CAP Code.
Clearcast is owned by the six largest UK commer-
cial broadcasters, with others as clients, and we
share their interest in getting ads to air. Our clear-
ance ethos is that we work with advertising agen-
cies to help get ads to air and keep them there
by ensuring they comply with the Codes. Impor-
tantly, we are not a regulator (that is the role of
Ofcom, who delegate some of their powers to the
ASA) and we do not create the rules (that is the
role of CAP and BCAP).
The Codes are designed to reflect certain legal
requirements (e.g. for financial ads) and guide
broadcasters and advertisers as to what may or
may not constitute acceptable advertising. The
Codes do not, and cannot, fully prescribe explic-
itly what can or cannot be done. This would be
impractical as prescriptive Codes would require
constant updates and amendments as society
We work with
agencies to help
get ads to air
and keep them
there Each year
WELCOME TO CLEARCAST 9
The Advertising Standards Authority (ASA) is
officially recognised by the Government, the
courts and other regulators like the Office of Fair
Trading (OFT) and Ofcom as the body to deal
with complaints about advertising. Although
responsibility for regulation of broadcast ad-
vertising rests under law with Ofcom, they have
delegated these responsibilities to the ASA, but
Ofcom are still responsible for ads which may be
political, sponsorship, product placement and
Participation TV (gambling, babe chat dating
services). Other than this, the ASA’s remit also in-
cludes non-broadcast ads and as of the 1st March
2011, their remit was extended to cover certain
marketing communications on marketers own
The ASA’s aim is to ensure that ads are legal,
decent, honest and truthful by enforcing the Ad-
vertising Codes, which are written by two indus-
try Committees – the Committee of Advertising
Practice (CAP) and the Broadcast Committee of
Advertising Practice (BCAP).
In the event that the ASA have cause to question
an ad that has been broadcast, either through
their monitoring activities, or because an issue
has been brought to their attention by a com-
plainant (for instance a member of the public, a
particular body/society or a competitor adver-
tiser), they may launch their own investigation
and Clearcast and the Advertiser will jointly
respond. For our part, we will explain the rationale
behind our clearance, outlining the processes and
ASA, BCAP AND THE CODES
Our role is
ads on air
and to keep
10 WELCOME TO CLEARCAST
any discussions we may have had before clearing
the ad. See the box “Someone has complained to
the ASA about my ad, what should I do?”
Our role is to assist broadcasters and VoD pub-
lishers in getting acceptable ads on air and to
keep them there. It is in everyone’s best interest
to ensure that no ad is ever complained about,
but this can’t always be prevented. It’s the ASA’s
job to assess whether or not we got it right.
SOMEONE HAS COMPLAINED
TO THE ASA ABOUT MY TV/VoD AD,
WHAT SHOULD I DO?
The ASA writes to inform you that there has been a complaint. They
outline the nature of the complaint and you are given seven days to
respond in writing. Your Clearcast contact is also informed of the
complaint by the ASA.
Clearcast and the ASA recommend that you channel your responses
through us. This is a crucial part of the process and makes sure that
we’re aware of all arguments put forward in defence of the particular
ad; it also ensures consistency in responses to the ASA.
We then outline our reasons for approving the ad. The ASA executive
working on the complaint assesses all responses before deciding if
the ad breaches the BCAP Code and drawing up a recommendation
for the ASA Council on whether they think the complaint should be
upheld or not. Both Clearcast and the advertiser are given a chance
to comment on the draft before it is submitted for adjudication.
Once the ASA Council has made a decision, we are told of the
outcome; either upheld or not upheld and then let you know. If the
complaint is upheld, we need to immediately remove the approval
on our system and the ad is taken off air (or if it’s a timing issue, it
may have a timing restriction applied). The ASA publishes its adju-
dications on its website. Advertisers that are the subject of ongoing
investigations should be ready to provide new copy, at very short
notice, in anticipation of an adjudication to uphold. If it is not upheld…
good news… the ad can stay on air, with no further action required.
The ASA also informally investigates some complaints. The informal
route is taken if the ASA thinks there is a straightforward breach of
the Code and both Clearcast and advertisers agree to make simple
changes to an ad. Informal investigations are resolved quickly and the
ASA does not publish details of the complaint that was raised or how
the case was resolved.
WELCOME TO CLEARCAST 13
CAN ADVERTISERS LIAISE DIRECTLY
We usually work with agencies rather than ad-
vertisers. However some advertisers do prefer
to work with us directly. We have no preference
other than to stipulate a single point of contact
for a clearance so that communication doesn’t
WHAT’S YOUR PROCESS?
The below process applies to ads of less than 5
minutes. For ads longer than 5 minutes in dura-
tion, there are some differences, please contact
our Teleshopping team on 020 7339 4700.
THE PRE-PRODUCTION STAGE
This focuses on your ad at script stage. You don’t
have to submit a pre-production script before
you shoot the ad, but it helps avoid unnecessary
and expensive surprises later on. You (as the
advertiser, or the advertising agency), submit
the script, including necessary story boards and
substantiation, to our online system, Adway. This
is then read by your assigned Clearcast Contact
(see page 15 – ONE POINT OF CONTACT), who
does a “first read” and sends any claims of an
advanced scientific or technical nature requiring
substantiation, to a consultant. A “second read”
is then carried out by a second member of the
team, meaning your work benefits from two pairs
of eyes and you receive feedback highlighting
any changes the script needs, usually within 4
working days. Once these changes have been
made, you submit an amended script. If no further
HOW COPY CLEARANCE WORKS
WELCOME TO CLEARCAST 1514 WELCOME TO CLEARCAST
changes are necessary, the script is approved and
can go through to the 2nd stage of the process
below, following further advice from your Clear-
cast Contact about possible timing restrictions
etc. that might need to be applied to your ad.
THE POST-PRODUCTION STAGE
This stage is when we consider either rough-cut
or clocked ads alongside a script. At this point
we will check your ad for flashing images and
regular patterns (to ensure it won’t cause sei-
zures in people with photosensitive epilepsy) and
check that your ad’s ‘Supers’ (the super-imposed
legal text) is the right height and is being held on
screen for long enough. If we approved a pre-pro-
duction script, that script should accompany the
submitted ad, which is then watched in our daily
viewing meeting to check we are satisfied with
the ad’s overall compliance with the Codes. It is
then either approved or rejected. If it is approved,
we update Adway (with possible restrictions, e.g.
not to be shown around children’s programming)
and Adway then sends you (or whoever submit-
ted the ad) an auto-email letting you know the
ad has been approved. The Broadcasters will also
be able to see the ad has been approved. If it is
rejected, we will explain why, and you need to
make the necessary alterations to your produced
ad and resubmit to us. A clocked version of all
rough-cuts approved also need to be submit-
ted for final approval as we formally clear only
SIGNING UP TO ADWAY
You or your agency can get information on
signing up to our online clearance system, Adway,
by going to the Submissions and Online Help area
on our website.
ONE POINT OF CONTACT
Each Clearcast Contact deals with his or her
own portfolio of accounts (normally advertis-
ing agencies). Everything that comes to us from
that agency will be dealt with by the Clearcast
Contact assigned to the agency. To find your
contact, please go to the ‘Contact Us’ section
on www.clearcast.co.uk and type your company
name in the box marked ‘Find your copy clear-
HOW LONG DOES CLEARANCE TAKE?
We aim to feed back on a script within 4 days
(80% of scripts) and on a finished ad within 2
days (95% of finished ads). However this can
lengthen in busy periods (September to Decem-
ber and also Easter tend to be particularly busy
for us) and for complex scripts. Additional sub-
stantiation and script revisions also need extra
time to be assessed. If your script needs to be
sent to one of our consultants (because of the
nature of claims being made, for example regard-
ing nutrition), we would advise you allow at least
one extra week for this, as our consultants work
for us part-time on a freelance basis.
For advertisers and agencies new to TV, we have
a dedicated Senior Copy Executive (new in April
2012) who will help you through your first sub-
missions, smoothing the experience of getting
your ad to air.
WELCOME TO CLEARCAST 17
SPEEDING UP MY CLEARANCE…
To be fair to all advertisers, we don’t offer a premium fast-track
service. However, following a few basic steps can help your ad get
cleared in the fastest possible time:
1. Book yourself on a Clearcast training course – the better you un-
derstand how and why we work the way we do, the more time
2. If your ad contains claims, try to identify any claims in your
script and submit any substantiation you have with the first
version of your script, if possible.
3. Take advantage of our Meet the Consultants sessions; compli-
cated claims can be discussed before a script is received. Find
more information in the Extras section of this brochure.
4. If we’ve previously approved a claim that you are making again
in a new ad, let us know the clock number of the previous ad.
5. Get your Supers right first time:
• Make use of the Duration of Hold Calculator on our website,
which instantly calculates how long you’ll need to display your
Legal Supers on screen for, based on how many words you use.
Search “doh” on our site.
• The Clearcast Testcard is designed to make it easier for you to
make sure the size of your Supers meets the minimum height
requirements. Search “testcard” on our site.
6. Allow enough time for your clearance, it is an integral part of the
ad production process. If you are working to a particularly tight
timescale it is best to check your Clearcast Contact can accom-
modate this. We strongly advise against committing to shoots
without approved pre-production scripts.
PRE-PRODUCTION CLEARANCE PROCESS
Submit scripts online
(Also include storyboards,
(Further advice may
also be given on timing
Clearcast may refer
to a consultant for
amendments and / or
additional info /
Go to STAGE 2
Feedback from Clearcast
(Either online or by phone)
POST-PRODUCTION CLEARANCE PROCESS
APPROVAL Please submit
WELCOME TO CLEARCAST 19
We don’t charge for normal clearance of ads
shown in standard commercial breaks on the
channels for which we clear, as broadcasters fund
this work. However, depending on the nature
of your campaign, you might need these extra
services that we provide. Some are chargeable
and some are not. The “+” means the service is
chargeable so please visit our website for more
We’re dedicated to improving the knowledge
and expertise of all the advertisers, agencies
and broadcasters we work with every day to get
ads on air. We offer a range of different learning
opportunities from introductory courses to spe-
cialist courses to in-house bespoke training for
advertisers, agencies and broadcasters, and now
offer CPD accredited courses.
OUT OF HOURS AND LIVE CLEARANCES +
Increasing numbers of ads take the traditional 30
second spot to new levels of creativity and some
of these require live, weekend or other off-site
clearances. We’re keen to work with you to get
these ideas to air and can provide services out of
hours to make this happen. Do contact us as early
as possible so we can help you plan.
PITCH SCRIPT ADVISORY SERVICE +
Advertisers want to be reassured that creative
ideas being pitched by agencies can actually run
on TV. To meet this need we provide a pitch script
clearance service and issue a certificate for ap-
to improving the
expertise of all
we work with
WELCOME TO CLEARCAST 2120 WELCOME TO CLEARCAST
CAMPAIGN PLANNING + New in April 2012
We can offer Campaign Planning support for advertisers and agencies that
want to involve Clearcast as an integrated part of the creative develop-
ment process. This may be at an early stage to prevent issues that would
otherwise arise close to transmission, for example by providing an indica-
tion of whether a creative idea is problematic and what will be needed for
claims verification. Alternatively it may be to help solve problems that have
emerged during the clearance process, for example where help is needed for
major rewrites to meet the requirements of the Codes.
MEET THE CONSULTANT +
Our “Meet the Consultant” sessions allow advertisers to discuss ongoing
work or future campaigns with our expert consultants, all highly beneficial
if an ad contains complex technical claims or promotes significant product
developments. It can also be used as part of the process to clear claims early
on in the advertising process so scripts can be approved more quickly when
they are submitted.
EDIT TO CLEAR + New in April 2012
We offer an edit-to-clear service for clients who want to simplify the process
of getting Supers and flashing right, or who are up against tight deadlines.
We can also help advertisers who need international ads re-versioned to
meet UK requirements.
TV ADMIN + New in April 2012
We can help advertisers and agencies who want to outsource their admin or
who need temporary additional support. Working directly with us is an ef-
ficient way of ensuring that you have all it takes to provide clear, timely com-
munication and management of the clearance of copy and claims support
as well as delivery. In addition to TV we can also help with admin for radio,
cinema, VoD and mobile.
Ads on Video on Demand (VoD) services are regulated according to the CAP
code, which includes some VoD specific elements. We provide an advisory
service for VoD publishers so we clear the scripts and videos we receive in
two formats, linear VoD.
LATE CLEARANCE +
This is a service for ads that require provisional approval but can only be
sent to us late in the day. For further details, please search ‘late’ on our
LONG-FORM TELESHOPPING ADS +
If your ad is over 5 minutes in length and is being submitted for the first time,
it will be subject to a charge. Search “teleshopping” on our website for more
information or contact our Teleshopping team on 020 7339 4700.
This service checks your ad complies with Ofcom’s guidelines on flashing
images and regular patterns to avoid causing seizures for people with pho-
tosensitive epilepsy. You can upload your ad as soon as it is ready and the
automated test will email you the results within minutes. It is the first and
only one of its kind to be online.
The International Copy Advice / Pre-Clearance facility has been set up to
help agencies and advertisers developing copy for other countries to get
advice in a few clicks. Copy advice or pre-clearance, where available, can
be sought directly through our International Advice facility. If the enquiry
can’t be submitted directly through the facility, you’ll be directed to the right
place. Similarly, if there are any conditions, such as fees, that apply, this will
be flagged once the user has selected country(ies) and media. For more
information, go to our website or to www.ad-advice.org
If you would like more information on any of the above services, or have
other questions please contact firstname.lastname@example.org.
WELCOME TO CLEARCAST 23
Who is my contact at Clearcast and what do I do
if they’re away?
If you are new to Clearcast and don’t have regular
contact with us, you will be given a contact based
on the first letter of your company name, i.e. if
you are called “Joe Bloggs Advertising” you will
be assigned to the person who looks after “Mis-
If you go on to have a more regular on-going
relationship with us, or are likely to, you will be
assigned to a Clearcast Contact’s portfolio. Of the
50 members of staff at Clearcast, 26 have portfo-
lios with all the advertisers and advertising agen-
cies that regularly submit ads to us for clearance.
Two of the 50 deal with Teleshopping specifically
and three are Cover staff, in place to help cover
the work of those not in the office. So if your
regular contact is away, email cover@clearcast.
co.uk or speak to our receptionist on 020 7339
4700 who will connect you to the correct cover
In addition to your copy contact, you may also
be contacted by one of our Operations team.
They are there to help you once you submit your
finished ad. They may be in touch if your finished
ad does not match the approved script or some
of the required information we need is missing,
such as artists featured in the ad or details of any
FREQUENTLY ASKED QUESTIONS
team are there
to help you once
you submit your
24 WELCOME TO CLEARCAST
What are timing restrictions?
Some ads have to be given timing or other re-
strictions limiting when they can be shown (or
the environment in which they can be scheduled
A complete list of these can be found on the
Clearcast website (Search “timing restrictions”),
but the most common examples of these are
Can I appeal the decision that has been made on
We have a two stage appeals process. In the
first instance you can ask for a Policy and Copy
Meeting (PCM for short) to consider your argu-
ments. Made up of our copy group managers,
PCM exists to ensure an advertiser’s arguments
have been considered by a broad range of senior
staff. If agreement still can’t be reached, scripts
and/or ads can be submitted to the Clearcast
Copy Committee (made up of representatives
of Broadcasters, observer members from ISBA,
and the IPA) for a view, which will be final. You
will need to alert your Clearcast Contact if you
would like to have your ad submitted to the Copy
COMMON TIMING RESTRICTIONS
• Not to be transmitted in the breaks immediately before, during and
immediately after children’s programmes.
• Risk that emulation may result, but not considered to be a risk of
serious harm and/or mild scary scenes that may frighten and so cause
mental harm to very young viewers.
• Mild innuendo or sexual activity (such as kissing). Non-sexual nudity.
• Accidental interpersonal violence. Mild interpersonal violence likely to
be in an historical, comedic or fantasy setting (e.g. light sword play).
TS (To be transmitted after 7.30pm)
This restriction includes the lesser PK timing restriction
• Potential for emulation. Not suitable for young children as copying
the behaviour may result in them placing themselves in a potentially
harmful situation (but not a life threatening situation).
• Moderate innuendo. Moderate, non-graphic sexual activity, this might
be nudity in a sexual context.
• Interpersonal contact may be strong but brief. There may be scenes of
threat and horror in the home. Morphing and/or scary faces. Moderate
or strong, but brief, aggressive behaviour. Visuals of injuries, which
aren’t too graphic but may be bloody.
TN (To be transmitted after 9.00pm)
This restriction includes the lesser PK and TS timing restrictions
• Not suitable for pre-watershed. Risk of emulation will be serious and
likely to result in serious harm.
• Strong sexual content (but not overtly graphic) including sexual en-
tertainment. Open discussion of sex. Strong and/or crude innuendo.
Sexual nudity (no nipples/pubic hair/genitalia).
• Interpersonal contact is likely to be strong and repeated. There are
likely to be scenes of threat and horror. Aggressive behaviour or
visuals of injuries. Scenes of torture should be brief, vague and non-
graphic. Street, urban or realistic depictions of crime and violence are
likely to need a minimum of TN.
26 WELCOME TO CLEARCAST
Do you have an escalation process?
Yes we have an escalation process in place for
when the advertiser/agency may want to escalate
certain issues relating to us or for when we may
want to escalate certain issues with the adver-
tiser/agency. The escalation cases could range
from delays, to restrictions put on ads considered
unnecessary, to relationships between us and you.
Much more detail on this can be found by search-
ing “Escalation” on our website.
What is a clock number?
A clock number is a unique alphanumeric iden-
tification number used to identify an ad and its
creators/source (the advertising agency or ad-
vertiser). The number is used from the clearance
process through to transmission and in post-
transmission reporting. More detail about clock
numbers can be found in the FAQ section of our
website within Online Help.
Institute of Practitioners in Advertising
Incorporated Society of British Advertisers – The Voice of
Independent regulator and competition authority for the UK
PCM – Policy and Copy Meeting (Formerly SEC/SECRETARIAT)
Panel of senior Copy Staff who discuss problematic or contentious submissions.
Codes designed to give more detail about ad content to help broadcasters schedule
accordingly, e.g. “features firearms” to guide with scheduling away from sensitive
Indicates that an ad is acceptable to air on a temporary basis while it awaits full,
PRS for Music
Performing Rights Society for Music
Radio Advertising Clearance Centre
Restrictions - Scheduling
Restrictions applied when an ad can be shown at any time of the day, but may not
be shown in programmes with certain audiences (generally children/young people).
Restrictions – Timing
Succession of watersheds applied when it is determined that
an ad is not suitable for airing at certain times during the day.
Unfinished video submitted to gauge its overall acceptability prior to producing a
final clocked version.
Superimposed text overlaid on ads to qualify claims being made
in the main body copy.
Determination made by the ASA on whether an ad is accept-
able or not (Upheld or Not Upheld).
Our in-house online submission management system, powered
Advertising Standards Authority
Often used to judge if programmes are likely to appeal to young
people or children, whereby audience profile is compared with
equivalent population profile. Broadcasters are responsible for
determining the audience index and Clearcast do not have a
role in this.
Black, Asian and Minority Ethnic visual artists in ads, see the
FAQ section on our website for more information.
The UK Code of Broadcast Advertising
Cinema Advertising Association
The UK Code of Non-broadcast Advertising, Sales Promotion
and Direct Marketing
Final version of ad intended to be broadcast with a unique ID
(clock), consisting of 15 characters.
Panel comprising of senior representatives from broadcast-
ers, with observing members from the IPA and ISBA. Referrals
to the Copy Committee are made only in exceptional circum-
stances and it is the final possible stage in the consideration of
a script or video.
Method of testing ads to ensure they are safe to be viewed by
those with photosensitive epilepsy.
4 Roger Street
London WC1N 2JX
T +44 (0) 20 7339 4700
We hope you’ve found this booklet
informative and a useful tool for your
future advertising campaigns.
If you have any suggestions for how
we could improve it next time, or
feedback of any sort, please email
as we’d love to hear from you.